Micro-resistance in Cinema of protest before the Islamic Revolution; Case study of the films Gheysar and Gavaznha

In this article, it is aimed to find a credible explanation based on Foucault’s teachings, for the wave of protest which was sparked by the two films, “Gheysar” and “Gavaznha” against Pahlavi discourse. The authors of the article believe that a theoretical approach to study the Micro-physics power within the pre-revolution cinema as a reason for the overthrow of the Pahlavi discourse has been an important issue that is not attended to as one of the methodical causes of the Pahlavi turnover. Accordingly, the hypothesis we have developed is as follows: cinema, by gathering the creativity of all arts within itself, sets a groundwork for the power Micro-physics, and the force and knowledge relations, with an intention of propagating its discursive statements and non-discursive practices in an effective manner. This propagation, by practicing Micro-resistance and Micro-politics, can make the subjects follow a special trend, as were the two films “Gheysar” and “Gavaznha”. These films could stand as the symbol within the pre-revolution cinema, of Micro-resistance against the order that Pahlavi discourse had created and consequently with political persuasion could propagate the opposition spirit within the members of the society that resulted in violent and non-violent protests against the government order.